Interview with GCA Design Studio

I think I became a designer because I have always been curious about why things are the way they are and how they could be better. For me, design is a way of solving problems, but also a way of creating meaning and emotion around everyday objects.

I definitely chose it. I always enjoyed drawing, making hand crafted things and observing objects. Industrial design felt like the perfect combination of creativity, problem-solving and the physical world.

My main field is packaging design, especially glass packaging for food, beverage and spirits brands. I particularly enjoy projects where the packaging itself becomes part of the brand identity rather than simply being a container. I would love to work more on projects where material, manufacturing technology, sustainability and brand storytelling come together.

Stay curious, observe everything, learn how things are actually made, understand business and listen to people outside the design world. And most importantly, develop your own point of view.

A good designer can solve a problem. A great designer can identify the problem behind the problem.
I also think great designers are able to balance creativity with reality. They understand the user, the business, the technology, the materials and the cultural context.

For me, good design has three qualities: it should be relevant, meaningful and appropriate. I ask myself whether the design solves the right problem, whether it communicates something clearly, and whether it has a reason to exist.

In packaging, a few millimeters, a curve, a material decision or a small detail can completely change how a product is perceived. Good design is not simply an expense. It is an investment in how a brand is experienced and remembered.

I would focus on everyday products that people use regularly but often overlook, especially household objects. These products have the potential to improve daily routines through small but meaningful details.

I would love to create a completely new glass packaging system. A system that considers production, transportation, reuse, recycling, user experience and brand identity from the very beginning.

I don't think there is a magic formula. You have to keep questioning, keep learning and keep improving the work even when you are already tired of looking at it. And one more ingredient: caring about the details that nobody notices consciously.

There are many, but I have always admired designers who were able to create a strong philosophy rather than simply a recognizable style.

I love the simplicity and emotional intelligence of Naoto Fukasawa's works.

One of the projects I am particularly proud of is the Avoya mineral water bottle. What makes it special to me is that the form, proportions, glass material, color and brand positioning were developed together. It was also very rewarding to see the project receive international recognition, including Red Dot Award. But more importantly, seeing the bottle actually produced and experienced in the market is what makes me proud.

I believe designers improve by designing, but also by looking beyond design. I spent a lot of time learning about materials, manufacturing processes, business, branding and consumer behavior. Working directly with manufacturers has taught me things that I could never have learned only from a design studio.

I have always been interested in making and creating things, so perhaps I would have ended up somewhere close to architecture, art or engineering.

For me, design is ultimately about creating value through thoughtful decisions, while also recognizing the boundaries within which those decisions must exist.

No designer reaches anywhere alone. Throughout my career, I have been supported by colleagues, mentors, clients, manufacturers and of course, my family.

Experience. Not just the number of years, but the number of different problems you encounter during those years.

One of the biggest challenges was learning that a good idea is not enough. In the real world, design has to work within budgets, technologies, production limitations, timelines, regulations and business expectations.

They should tell the story behind the design. Don't only show the final beauty shot. Explain the problem, the insight, the exploration, the decisions and why the final solution makes sense.

I am increasingly interested in projects that connect packaging design with strategy, sustainability and manufacturing innovation.

I want to create designs that people genuinely value, use and remember.

I think people expect consistency, originality and responsibility.

Actually, design shapes everyday life. From the products we use to the way information is communicated and the systems we interact with, design influences our behavior and expectations. Good design can make things more accessible, inclusive, understandable and sustainable.

I am particularly excited about the development of GCA Design Studio, where we respond to clients’ bespoke design needs and develop customized glass packaging solutions tailored to their brands.

The projects that gave me the most satisfaction are usually the ones where there was a real challenge behind them. Avoya is one of them, because we were able to connect a distinctive form with glass production and a strong brand story.

I would like to see designers involved much earlier in decision making. Design is often invited at the end of the process, when the important decisions have already been made.

I think the boundaries between industrial design, technology, branding and engineering will become increasingly blurred. AI will change how designers generate and explore ideas, but I don't believe it will eliminate the need for designers. The value of designers will increasingly come from asking the right questions, making judgments and understanding human needs.

It depends completely on the project. A simple packaging project can take weeks, while a complex industrial or glass packaging project can take months or even longer.

I start with questions, not sketches. Who is it for? What problem are we solving? What is the business objective? What already exists? What can we change? Only after understanding the context do I start thinking about form.

“Make it meaningful.”

I think it works both ways. Design responds to cultural and technological changes, but good design can also influence culture and create new behaviors.

Technology is a tool, not the purpose. It expands what we can imagine and manufacture, but technology alone doesn't create good design.

I use a combination of 2D and 3D design tools, including Rhino and Adobe CC, together with rendering, visualization and prototyping tools.

They are fundamental because people experience objects with all their senses.

I would love to ask what they felt. What did this design make them feel? Did it create a sense of curiosity, familiarity or emotion? For me, understanding how people emotionally experience a design is just as important as knowing what they think about its form or function.

My first reaction is usually curiosity. I immediately start wondering: Why did the designer make this decision? How was it manufactured? What problem were they solving? What could have been done differently?

Absolutely. My ideal partner is someone who is open-minded, curious and willing to challenge ideas rather than simply approve them.

Working closely with people who know materials and production deeply has changed the way I design. It taught me to respect the intelligence of the manufacturing process.

Books about design philosophy, psychology, creativity, architecture and human behavior have probably influenced me more than technical design books.

There is no shortcut to developing design judgment. You have to sketch hundreds of ideas, make mistakes, receive criticism, present work, negotiate with clients and see your designs manufactured.

I would love to have a long conversation with Leonardo da Vinci. Not only because of his artistic genius, but because he represents the kind of multidisciplinary curiosity I admire. I would want to ask him how he approached problems when nobody had established rules for solving them.

Awards are wonderful because they validate the effort of a team and help a project reach a wider audience. But the greatest reward is still seeing a design become real, go into production and have a meaningful life in the market. And I don't consider myself “famous.” I simply feel fortunate to have my work recognized internationally.

My favorite color changes depending on the context, but I am generally drawn to deep, muted and natural tones. I love places with a strong sense of history and character, especially cities where old and new coexist. As for food, I am definitely a Mediterranean person. My favorite season is autumn.

One of the funny things about being an industrial designer is that you eventually start looking at everything around you as a design problem. I have caught myself analyzing the shape of a bottle, the ergonomics of a door handle or the opening mechanism of a package while everyone else was simply enjoying their day.

There is something very satisfying about starting the morning with a problem that seems difficult and ending the day with a new possibility.

I was always curious about how things worked, and I liked drawing and making things. Looking back, I can see the signs. At the time, I simply thought I was playing.

A thousand years is almost impossible to imagine. But I hope that despite all the technological changes, humans will still value beauty, curiosity, creativity and meaningful experiences.

I don't really see myself as someone who has reached the end of the journey. I am still learning, still questioning and still making mistakes.

A successful design is one that creates a meaningful connection between the brand, the user, and the context in which it exists. At GCA Design Studio, we believe success lies in the intersection of functionality, aesthetics, and purpose.

In packaging design especially, success means more than just looking visually appealing. It must communicate the brand story clearly, stand out on the shelf, and function seamlessly—from the production line to the consumer’s hands. It should also consider sustainability, manufacturability, and cost-effectiveness without compromising quality or innovation.

But perhaps most importantly, a successful design feels inevitable—as if it couldn’t have been designed any other way. It solves a problem, evokes emotion, and leaves a lasting impression.

We measure success not only by market response or awards, but also by how well the design holds up over time—technically, commercially, and culturally.

The first thing I look for is clarity of intent—does the design serve its purpose effectively, and is it aligned with the brand’s values and target audience? A good design should communicate the right message at a glance, while also delivering a seamless user experience.

Functionality comes next. Particularly in packaging design, a product might look beautiful, but if it’s not ergonomic, not feasible to produce, or doesn’t protect its contents well, it cannot be considered successful.

I also evaluate the originality and coherence of the design. Does it offer a fresh perspective without being different for the sake of it? Do the form, material, and graphic elements feel unified and meaningful?

Finally, I consider sustainability and scalability. A truly good design should be mindful of environmental impact and adaptable for real-world production conditions.

In short, I look for a balance between strategic thinking, technical performance, and emotional appeal—when those elements come together, the design speaks for itself.

As designers, we carry a significant responsibility—not only to the brands we serve but also to the society we design for and the environment we draw resources from. At GCA Design Studio, we believe that good design goes beyond aesthetics or functionality. It must also be responsible, inclusive, and sustainable.

From an environmental perspective, our role is to minimize waste, prioritize recyclablity, and design with longevity and circularity in mind. Especially in packaging, every design decision—from form choice to weight, from production methods to end-of-life scenarios—has an environmental impact. We take this seriously, and as part of a manufacturing company, we have the opportunity to implement sustainable thinking directly into the industrial process.

From a societal perspective, designers have the power to influence behavior, improve accessibility, and create emotional connections through the objects we create. That’s why we strive to design packaging that’s not only functional and beautiful but also communicates clearly, feels intuitive to use, and respects the cultural and ethical context it will live in.

Ultimately, our responsibility is to design not just for today, but for the future—to create value without creating unnecessary harm.

The design field is undergoing a significant transformation—becoming more interdisciplinary, more strategic, and more accountable. In the past, design was often seen as a finishing touch. Today, it’s recognized as a critical driver of innovation, sustainability, and brand differentiation.

At GCA Design Studio, we observe that design is increasingly shifting from purely visual solutions to system-based thinking. Designers are now expected to navigate complex challenges—balancing aesthetics, user experience, environmental responsibility, and production feasibility—all within the same project.

One of the biggest changes is the growing role of sustainability. The future of design demands that we move beyond superficial green claims to real, measurable impact. This means rethinking materials, minimizing waste, and considering the entire lifecycle of a product—especially in packaging, where design decisions directly affect recyclability and resource consumption.

Technology is also reshaping how we work. AI-assisted design tools, rapid prototyping, and digital twins are accelerating workflows and enabling more experimentation early in the process. But alongside that, there’s also a growing appreciation for authenticity, craft, and storytelling. The most successful designs will be those that combine innovation with emotional resonance.

In short, the future of design will belong to those who can think across disciplines, act responsibly, and design not just for today—but for the world we want to live in tomorrow.

Inspiration for us comes from a wide range of sources—both structured and spontaneous. At GCA Design Studio, we closely follow global packaging trends, innovations, and consumer behavior shifts, within the food and beverage sector, with a strong focus on premium spirits.

We regularly visit trade fairs and design weeks which help us stay in tune with both creative movements and technical advancements. Internally, we maintain a dynamic visual archive and material library, where the team shares inspiring references, samples, and case studies. One of our key internal tools is Eclectic, our own trend magazine that we curate to explore sector news, global launches, emerging materials, and evolving aesthetics. It serves as both a creative archive and a source of strategic foresight for our team and our clients.

We also draw inspiration from art, architecture, nature, and cultural heritage—anything that offers a meaningful narrative through form, texture, or symbolism. Our design process is further enriched through cross-functional collaboration. Conversations with clients, engineers, and marketing teams often unlock unexpected ideas, especially when we’re balancing creative ambition with technical feasibility.

Lastly, we believe that creativity requires space and discipline. We encourage time for sketching, prototyping, research, and observation—whether through internal workshops or simply stepping back to see things differently. Creativity isn’t a one-time spark; it’s something we continuously cultivate through curiosity and connection.

At GCA Design Studio, we believe that successful design outcomes are rooted in strategic collaboration. Our process begins by understanding the company’s brand values, market positioning, and technical needs. Whether we’re designing a bespoke bottle, closure, or complete packaging system, we approach each project with a tailored mindset.

We typically start with a discovery and briefing phase, where we align with the client’s expectations, target audience, and commercial goals. From there, we move into concept development, supported by market data, visual research, form exploration. At every key stage, we share visuals, mock-ups, and presentations for feedback—ensuring that the client remains actively involved throughout the journey.

One of our strengths is being embedded in a production-driven environment. This means we collaborate not only with brand teams, but also directly with our technical, marketing, and manufacturing departments, ensuring that the final design is both compelling and feasible for mass production.

Whether the company is launching a new product or refreshing an existing one, our goal is to act as both a creative partner and a strategic guide, helping bring ideas to life in a way that’s aesthetically strong, technically sound, and aligned with the brand’s long-term vision.

My first piece of advice would be: stay curious and stay humble. Design is not just about having good taste or mastering software—it’s about asking the right questions, understanding real-world needs, and constantly learning from your surroundings. Be open to feedback, observe how things are made, and try to understand the constraints as much as the possibilities.

Secondly, don’t be afraid of the “boring” parts of the process—technical drawings, feasibility meetings, or revisions are just as crucial as mood boards and sketches. Great design happens when creativity meets real-world application.

Also, try to build a strong foundation in both form and storytelling. Especially in fields like packaging, it’s important to create something that not only looks good but communicates meaning and creates connection.

Surround yourself with people who challenge and inspire you. Collaboration will teach you as much as solitude, and both are needed.

Finally, remember that your work has an impact. Whether it’s through sustainability, accessibility, or emotional resonance, design is a tool for change. Use it consciously.

From my perspective, one of the most critical skills for a designer is the ability to think holistically—balancing creativity with functionality, and aesthetics with feasibility. Especially in packaging design, it’s essential to understand not only form and visual communication but also how materials, production methods, and user experience come together in the final product.

Beyond technical proficiency in design tools, strong communication and collaboration skills are key. Designers need to be able to listen, interpret brand needs, and work across disciplines—from marketing teams to engineers and production experts. At GCA, we also place a high value on curiosity and adaptability. The landscape of materials, sustainability standards, and consumer expectations is constantly evolving, and a great designer stays ahead by asking questions, embracing change, and never losing sight of the end user.

Ultimately, successful design stems from the ability to translate strategy into emotion—creating something that not only looks good, but feels right and performs well.

I see our toolbox as a blend of digital precision, tactile experimentation, and conceptual exploration. On the technical side, we use industry-standard softwares such as SolidWorks and Rhinoceros 3D for structural design, and Adobe Creative Suite—particularly Illustrator and Photoshop—for graphic design and label development. For advanced visualization and realistic renders, we also rely on tools like KeyShot.

In terms of hardware, we frequently use 3D printers, CNC prototypes, and mock-up techniques to test form, ergonomics, and production feasibility. Physical modeling still plays an important role in our process—it allows us to evaluate scale, proportion, and texture in ways screens can’t always capture.

But our toolbox goes beyond just software and machines. We draw creative inspiration from material libraries, trend reports, art and design books, museums, and even field visits to production lines. Understanding manufacturing capabilities firsthand is essential for us. Additionally, we keep a close eye on global packaging innovations, particularly in premium spirits, beauty, and gourmet food sectors, to stay aligned with international trends and sustainability movements.

Lastly, we believe that conversation is a tool in itself—whether it's with our clients, engineering teams, or fellow designers. A successful project often starts with the right questions.

Design by nature is iterative—it requires exploration, refinement, and at times, stepping back to see the bigger picture. To manage this effectively, we work with clearly defined project timelines, milestones, and review checkpoints, which allow us to structure the creative process without compromising its depth.

Internally, we prioritize early alignment with all stakeholders—clients, engineers, and production teams—to reduce revisions and prevent delays later in the process. I also encourage the team to adopt a modular mindset: breaking down complex design challenges into manageable stages and addressing each with focused intent.

Personally, I make space for both deep work and quick feedback loops throughout the week. Creative work needs periods of uninterrupted focus, but it also benefits from moments of collaboration and input. I’ve found that managing energy is just as important as managing time—knowing when to push, when to pause, and when to let an idea evolve naturally.

Ultimately, good time management in design is not about rushing—it’s about knowing where to spend your time to create the most meaningful impact.

The duration of a design project can vary significantly depending on the scope, complexity, and the level of customization required—but generally, at GCA Design Studio, a full packaging design process takes anywhere from 6 weeks to several months.

We begin with a discovery phase, which includes understanding the brand, market positioning, technical requirements, and production constraints. This is followed by concept development, where we explore form, functionality, and graphic elements in parallel. After internal reviews, we align with the client at key milestones through structured presentations and feedback rounds. Depending on the pace of client approvals and the number of iterations, this creative phase typically takes 4 to 8 weeks.

Once the design is finalized, we move into technical detailing and production feasibility studies, where we collaborate closely with our engineering and manufacturing teams. This stage ensures the concept can be efficiently produced at scale and meet performance requirements. Including mock-ups or 3D prototypes, the full timeline may extend to 10–16 weeks for a complete, production-ready solution.

Ultimately, we see time not just as a schedule to follow but as a framework to ensure both creativity and precision are given the space they need to result in a successful, brand-aligned product.

At GCA Design Studio, we are proud to collaborate with a range of distinguished clients across the beverage and spirits industries, as well as other premium sectors. Our portfolio includes partnerships with leading companies such as Mey Diageo, and brands like VOSS where we’ve contributed to high-profile packaging projects that emphasize quality and innovation.

We also work with both established global brands and emerging craft producers, helping them translate their unique stories into impactful design solutions. While we maintain confidentiality agreements with many of our clients, our ongoing relationships reflect the trust placed in us to deliver premium, functional, and market-relevant packaging designs.

At GCA Design Studio, we’re entering an exciting phase of growth and ambition. Looking ahead, one of our key priorities is to expand our presence internationally, both through global collaborations and by positioning ourselves more prominently in the premium spirits design landscape. This is an area where we see strong synergy between craftsmanship, storytelling, and material innovation—and we believe we have a unique contribution to make.

We also aim to participate more actively in international design award programs, as a way to benchmark our work, gain visibility, and engage with the global design community. Recent recognitions, like the A’ Design Award, have encouraged us to continue pushing the boundaries of what we can achieve as a cross-functional design and production team.

In parallel, we plan to deepen our investment in sustainable design practices, material innovation, and trend research, as well as expand the reach of our in-house publication, Eclectic, which has become a valuable tool for both inspiration and strategic insight.

Ultimately, our vision is to grow as a recognized creative partner for global brands, especially in the premium packaging space—delivering designs that are not only visually impactful but also forward-thinking and responsible.

As the lead of our design processes, I guide the creative direction and ensure alignment between the client’s vision and our design strategy. However, our work is very much team-based. At GCA Design Studio, we operate as a multidisciplinary team composed of experienced product and graphic designers who collaborate closely throughout every stage of development.

We also work hand-in-hand with our production and engineering departments, which is a critical part of our process. This cross-department collaboration ensures that our concepts are not only visually impactful but also technically feasible and optimized for large-scale manufacturing. Additionally, we involve our clients at key milestones, valuing their input and ensuring that each design genuinely reflects their brand identity and market positioning. This integrated approach is what allows us to deliver cohesive, high-quality packaging solutions that perform both aesthetically and functionally.

Yes, we’re currently engaged in a number of integrated packaging projects for the premium spirits sector—designing the bottle, closure, and label as a unified system. These projects are particularly exciting as they allow us to approach packaging holistically, ensuring every component works together to reflect the brand’s identity and elevate the overall consumer experience.

Sustainability is also a key focus. We're exploring refined glass forms and responsible material choices that not only meet aesthetic and technical expectations but also align with the growing demand for environmentally conscious design. While the details are still under development, these works-in-progress represent a thoughtful balance between craftsmanship, functionality, and long-term impact.

You can reach GCA Design Studio by emailing Sule Esra Cetinkaya at suleesra.cetinkaya@gca.com.tr. We're always happy to connect regarding design collaborations, packaging projects, or any creative inquiries. You can also learn more about our work through www.gca.com.tr.